Kim Duff

Short Range Poetic Device was a four episode radio show of discussions with and readings by poets, hosted by Stephen Collis and Roger Farr, as part of the alternative media resistance to the 2010 Winter Olympics in Vancouver, British Columbia, February 12-28, 2010.

Short Range Poetic DevicePoetry and Poetics Streaming Against the TotalityVivo Media Arts, Vancouver, British Columbia, February 16-17 and 23-24, 2010

The 2010 Winter Olympics in Vancouver, Canada

A much-photographed, controversial mural by artist Jesse Corcoran at the Crying Room Gallery in Vancouver

Jules Boykoff

As a youngster I had unequivocally positive feelings about the Olympics. In part this was because I grew up in Madison, Wisconsin where winter sports were bigger than Jesus. During the 1980 Winter Olympics, which took place in Lake Placid, New York, I cheered mightily for fellow Madisonian Eric Heiden as he won five gold medals in speed skating, yelping at the tv screen as he swirled elegantly around the rink. This brought the poet out of ABC’s Keith Jackson who later described him as “a spring breeze off the top of the Rockies.” My parents even got me a stylish Eric-Heiden-esque rainbow hat, which I wore with great pride. (Later I attended Madison West High School where Heiden also went). That same Olympics the US hockey team won the so-called “miracle on ice.” The moment the hockey team won the gold-medal game is etched in the chalk and bones of my then-10-year-old mind. I remember the unbridled exhilaration pumping through my little body.

A conversation with Jared Hayes

In his book Ideas of Space in Contemporary Poetry, Ian Davidson has written that in terms of poets’ response to the “spatial turn” he believes, “The most satisfying responses to spatialization and globalization are from those poets who engage with those processes through both the content of their work and through experimentations in poetic form” (p. 27). One poet whose “experimentations in poetic form” I’ve found consistently thought-provoking is Portland, Oregon-based poet Jared Hayes.

JB: In the mesostic poems posted below how does your methodology emerge in terms of both form and content?

On Barrett Watten's questions

It is no accident that the title of Barrett Watten’s second twenty-first-century critical book analyzing Language writing as an ongoing “presence” within the avant-garde continuum and literary history echoes Roman Jakobson’s 1977 collection of essays, Questions de poetique[1] Just as Jakobson’s essays interrogate the precarious position of poetry in an age saturated with analog media (e.g., how poetry is and is not different from the newspaper, the radio, television, etc.), so too Watten’s essays address the position of poetry in relationship to other modes of inn